Valen-Delamot Jean Baptiste (1729-1800) French architect, the first professor of architecture in Russia. He studied with his cousin, the architect J. F. Blondel. In 1759-1775 he worked in Russia, mainly in St. Petersburg. Since 1759, professor at the St. Petersburg Academy of Arts. Among the students, V.I. Bazhenov and I.E. Starov stand out. Since 1766 - court architect. Since 1768 - corresponding member of the Paris Academy of Architecture. In 1775 he left for France.
Projects Big Gostiny Dvor (1761-1785) Catholic Church of St. Catherine on Nevsky Prospekt (1763-1783) Palace of Count K. G. Razumovsky (1762-1766) Palace of Count I. G. Chernyshev (1762-1768) (see Mariinsky Palace ) Building of the Academy of Arts (1764-1788 together with A.F. Kokorinov) Design of the facades of New Holland and its arch (1765-1780, together with S.I. Chevakinsky) Small Hermitage (1766-1769 together with Yu. M. Felten) The building of the Free Economic Society on the corner of Nevsky Prospekt and Palace Square (1768-1775) Yusupov Palace on the Moika 1770s Hetman's Palace (not preserved) in the city of Pochep, Bryansk Region (1760s) Country estate of Count I. G. Chernyshev (1760 -e)
Gostiny Dvor The history of its creation begins with the decree of Elizabeth (1748). In the 1750s, Rinaldi’s project was rejected. In 1757, Rastrelli's project was approved. The construction was to be financed by merchants. According to Rastrelli's design, the building was supposed to be richly decorated with stucco moldings and sculptures and to be as luxurious as palaces. Work began in 1757, but financing issues dragged on and the project was eventually revised.
Ultimately, Wallen-Delamot became the author of Gostiny Dvor. He preserved Rastrelli's general layout and built the building in the style of early classicism. Construction lasted more than twenty years - from 1761 to 1785. In the 1840s, Gostiny Dvor became one of the first buildings to have gas lighting. Engraving by B. Paterson. 1802
Razumovsky Palace In 1739, on this site, according to the design of F.B. Rastrelli, a wooden palace was built for Count Reinhold-Gustav Levenwolde, a close associate of Empress Anna Ioannovna. After Empress Elizabeth Petrovna came to power, Levenwolde was sent into exile, and the palace was transferred to the treasury. In 1749, the site came into the possession of Hetman of Ukraine and President of the Academy of Sciences Kirill Grigorievich Razumovsky. In 1760, the wooden structure was dismantled due to disrepair. In 1762, the architect A.F. Kokorinov began to build a new stone building. By 1766, the work was completed by J. B. Vallin-Delamot. A section of the garden has been preserved to this day on the territory of the estate. From the side of Kazanskaya Street it is protected by the bars of the Kazan Cathedral.
"Blue Hall"
Palace of Count I.G. Chernyshev It stood on the very spot where the Mariinsky Palace, the current building of the State Council, was built in the middle of the 19th century. The Chernyshev Palace, despite its early date, is already quite “classical” in layout, and its two loggias on the side ledges are decorated with exactly the same Palladian technique, which later, during the era of the Directory and under Napoleon, was in use in Paris. Only the details reveal the masters of the Baroque time.
Building of the Academy of Arts The Academy of the “three most noble arts” (painting, sculpture and architecture) was founded on the initiative of M.V. Lomonosov and I.I. Shuvalov, by decree of Empress Elizabeth Petrovna. Catherine II, having given the Academy the status of Imperial, considered that the institution needed a new separate building. For this purpose, a site on Vasilyevsky Island was allocated.
The design of the Academy of Arts' own building was drawn up by the architect J. B. Vallin-Delamot. At the beginning of 1764, Catherine II approved the project, after which an order was issued to allocate 160,000 rubles for construction over four years. They say that one of the conditions of the project was established by Catherine II herself. She ordered the building to be built so that there was a round courtyard inside “so that all the children who study here would have before them the size of the dome of St. Peter’s Cathedral in Rome and in their future architectural projects they would constantly relate to it.”
The Small Hermitage is an architectural monument, part of the museum complex of the State Hermitage, built in 1764-1775 by architects J. B. Wallen. Delamot and Yu. M. Felten. .
Northern Pavilion of the Small Hermitage. Façade designed by architect Wallen. Delamot, distinguished by the richness and sophistication of the architectural forms of early classicism. The two upper floors are decorated with a portico of six Corinthian columns and two sculptures - statues of Flora and Pomona. The building is completed by an attic with a sculptural group. In the Northern Pavilion of the Small Hermitage there is a Pavilion Hall created in the 1850s by A. I. Stackenschneider. The famous Peacock clock is also located there now.
the interior of the Northern Pavilion of the Small Hermitage, part of the State Hermitage museum complex, was created in 1858 by the architect A. I. Stackenschneider (1802 -1865 A. I. Stackenschneider (1802 -1865) worked in the style of historicism and the Pavilion Hall was a striking example of this directions. Elements of Gothic, Baroque, Renaissance, classicism and Moorish style are perfectly intertwined in its interior.
G. A. Potemkin bought a watch created by the English master D. Cox as a gift to Catherine II. At first glance, he was attracted by the original appearance of the watch, which was a metal sculptural group consisting of a peacock, a rooster, an owl and a squirrel sitting on tree branches. The tree is surrounded by metal plants with large leaves and mushroom caps, and a clock dial is inserted into its trunk. According to the author, this sculptural image should symbolize different aspects of human life, contradictory and at the same time always nearby. So, the rooster is a symbol of the morning and at the same time everything bright and happy, and the owl, naturally, symbolizes the night and everything dark and scary. The squirrel, which is associated with practicality and down-to-earthness, is contrasted with the peacock, symbolizing pure sublime beauty. And yet they are all on one tree, half dry and half covered with leaves. The clock mechanism of this work of art is still in operation. Once a week, the Hermitage staff starts the Peacock, and visitors have the opportunity to hear a rooster crow and see an owl turn its head and a peacock spread its tail.
Southern Pavilion Facing Millionnaya Street, Felten decided to create the Southern Pavilion by combining the fading Baroque and the emerging classicism. The decoration of the first floor repeats the motifs of the façade of the Winter Palace. The architect divided the next two floors with pilasters and decorated them with bas-relief panels. In 1840-1843, V.P. Stasov built a fourth floor.
The main staircase in the Yusupov Palace
Jean Baptiste Michel Vallin-Delamot was born in 1729 in France in the city of Angoulême. On his mother's side, he belonged to the famous Blondel family in France. There is no information about the childhood of the future architect. It is only known that at the age of twenty he entered the French Academy in Rome, which he successfully completed. It is known that he traveled extensively in Italy, where he studied the architectural heritage of antiquity. Returning to Paris, the young man began working as an assistant to his uncle, the architect François Blondel. The young architect took part in a competition for a design project for one of the central squares of Paris - Place Louis XV, now Place de la Concorde. And although his project was not approved, this fact played an important role in improving the professional skills of the architect.
On June 18, 1759, through the plenipotentiary and extraordinary Russian ambassador to the French court, Count M.P. Bestuzhev-Ryumin, a contract was signed with the thirty-year-old architect to work in Russia as an architect for a period of three years. The architect’s task also included training Russian talent in architecture. The contract was subsequently extended for another three years. By this time, Wallen-Delamot was already considered a venerable architect who had proven himself to be a master of his craft. He was a member of the Florence and Bologna academies, but he had almost no experience in practical construction.
In St. Petersburg in the second half of the 18th century, more and more attention was paid to public buildings. Along with palace and religious buildings, educational, administrative, and commercial buildings were actively erected. All this extensive construction was supervised by the Commission on the Stone Structure of St. Petersburg and Moscow. She also dealt with planning issues. Vallin-Delamot, who combined teaching with construction practice, was also involved in the design and construction of these structures. One of the architect's first works in St. Petersburg was the design of the stone Gostiny Dvor. The project was developed by order of the President of the Academy of Arts, Count I. I. Shuvalov. Construction began in 1761, but moved extremely slowly. At the first stage, A. Kokorinov was also involved in construction.
In 1762, Emperor Peter III removed Wallen-Delamot from construction work, accusing him of misappropriating someone else's design. Vallin-Delamot indeed retained the general method of the compositional solution of Gostiny Dvor, developed by , but significantly simplified and reduced the cost of the predecessor’s project, abandoning the pomp and decorativeness of Baroque architectural forms. However, with the accession of Catherine II, the position of the French architect was strengthened again. The architect proposed a new version of the facade, and the empress approved it. By 1767, the construction of the building, facing Nevsky Prospekt with its main façade, was completed, but the pace of construction again caused dissatisfaction with the capital's authorities. Many doubted that the architect would even be able to complete the project. And it turned out to be true. In 1768, Wallen-Delamot finally abandoned construction, and in 1775 he left Russia altogether, not seeing his plan realized.
However, during the sixteen years that the architect lived in Russia, he carried out many wonderful projects. In 1762, according to the architect's design, construction began on the main Catholic church in St. Petersburg - the Church of St. Catherine on Nevsky Prospekt. Supervised the construction. The complexity of the project lay in the fact that the church building had to be placed between two existing houses on the already built-up main thoroughfare of the city. Vallin-Delamot coped with this task brilliantly. The last king of Poland, Stanislaw August Poniatowski, was buried in the church; in 1938, his ashes were returned to Poland, and the French general J. V. Moreau. In 1855, the funeral service for the architect Auguste Montferrand was held in this church.
At the end of 1763, together with A.F. Kokorinov, the architect began work on the project for the building of the Academy of Arts. In this largest joint work of theirs, for the first time in Russian architecture, the principles of classicism were clearly outlined - balance and symmetry of the composition, majestic solemnity of the external appearance, the use of the colonnade as the basis for the organization of facades. The architects' plan was formed by 1764, and construction work began in the same year. But even after this, Kokorinov and Delamatte continued to improve the project, clarifying its details. Construction was supposed to be completed by 1778, but due to lack of funding it moved very slowly, and sometimes stopped altogether. Construction work was completed only by 1789, when the architect was no longer in Russia, and the finishing of the building continued until 1810. The building of the Academy of Arts was another work of the architect, which he also could not see.
Another work of Vallin-Delamot was the construction of the Small Hermitage building with a hanging garden and a gallery to house art collections, attached to the Winter Palace in 1764-1775. Prior to this, Wallen-Delamot completed a large number of interior projects for the Winter Palace. According to the plan of Catherine II, the Small Hermitage was supposed to house a collection of paintings and other objects of art that the empress acquired at European auctions. There, Catherine II organized entertainment evenings with games and performances - small hermitages. The architect coped with the task perfectly, organically integrating his creation into the complex of buildings located in close proximity to the Winter Palace and forming a single whole with it. In 1765, by order of Catherine II, the architect was involved in the work carried out by the Admiralty Board in “New Holland,” which had previously been carried out by S. I. Chevakinsky. Vallin-Delamot designed the facades, as well as the spectacular arch over the canal leading to the pool inside the island. The majestic portal of “New Holland” with an arch over the canal is one of the masterpieces of St. Petersburg architecture and a symbol of our city.
The architect also carried out private orders. Together with A.F. Kokorinov, he built the palace of Count K.G. Razumovsky (now the Russian State Pedagogical University named after A.I. Herzen). The palace is an excellent example of the architecture of the transition period from Baroque to Classicism. On the Moika embankment, Wallen-Delamot rebuilt the two-story house of I.P. Shuvalov, turning it into the palace we know as Yusupovsky (Moika embankment, 94). The architect is also supposedly the author of the project for the Alexandrino estate on the Peterhof Road (Stachek Avenue, 162) for the President of the Admiralty Collegiums, Count I. G. Chernyshev. The architect spent a lot of time teaching. Among the young people to whom he passed on his skills, one must name the outstanding Russian classicist architects Ivan Starov and Vasily Bazhenov. Starov worked in St. Petersburg, Bazhenov mainly in Moscow. But Russia did not become the architect’s second homeland. In 1775 he left Russia. Perhaps his departure was influenced by the death of his friend and colleague A.F. Kokorinov. Vallin-Delamot died in his hometown of Angoulême on April 17, 1800. The French architect turned out to be one of the founders of Russian classicism.
VALLIN-DELAMOT Jean Baptiste Michel (1729, Angoulême, France May 7, 1800, ibid.), French architect. B worked in Russia. Representative of early Russian classicism. He studied with his uncle, the architect J.F. Blondel, in France and Italy. In 1759, I. I. Shuvalov invited him to Russia to take the position of architect at Moscow University. Having concluded a contract for a period of three years, he moved to St. Petersburg and taught architecture at the Gentry Cadet Corps. After the establishment of the Academy of Arts (1757), he soon became its teacher; under Catherine II, after the approval of the new charter of the Academy, he was appointed a member of the academic council (1765); in 1769 he was promoted to adjunct rector for architecture; remained in this position until 1776, when he retired. The clarity of composition, characteristic of early classicism, in the buildings of Wallen-Delamot is combined with the rich plasticity of forms characteristic of the Baroque
Small Hermitage
The complex of buildings of the Hermitage - the imperial art gallery - was created according to the plans of Catherine II. In the years, according to the project of J.-B. Vallin-Delamot, an elegant three-story pavilion was built on the Palace Embankment next to the Winter Palace - the Small Hermitage, intended for meetings of the Empress in a narrow circle. This first completed building of early classicism became a manifesto of the new style and an instructive example of the ensemble approach to the development of the city center. The building is consistent in height and two-tier division with the Winter Palace. The lower tier, as in the Academy of Arts, is made in the form of a load-bearing arcade with horizontal rustication. It serves as a pedestal for a slender six-columned portico with statues of Flora and Pomona at the corners. Pilasters provide a smooth transition from the volumetric order to the wall. Constant panels and decorative details crush the surface, forming a flattened wall relief. Behind the Neva Pavilion of the Small Hermitage there is a hanging garden with galleries and another pavilion facing Millionnaya Street. The Baroque features of its lower floor seem to reflect the proximity of the Winter Palace. This entire complex was built by Yu. M. Felten in accordance with Delamot’s designs.
Big Gostiny Dvor,
The design of the largest shopping building in St. Petersburg became a turning point in the development of Russian architecture. In 1757, the F.-B. project was approved. Rastrelli, executed in lush, decoratively rich Baroque forms, and construction work began. But the merchants considered it impractical and excessively expensive. In 1760, Chief Chamberlain, founder of the Academy of Arts I. I. Shuvalov, who gravitated towards French classicist culture, handed over the order to J.-B., who had arrived from Paris. Wallen-Delamotou. Construction began in 1761 and was completed only in 1785, ten years after Delamotte returned to France. The Bolshoi Gostiny Dvor is the earliest (according to the initial date) building of classicism in St. Petersburg. The building was restored and reconstructed in the 1990s, while the previously isolated shops were turned into a through enfilade.
Academy of Arts,
The majestic building of the Academy was created as a program example of a new style for Russia - classicism. The author of the project was J.-B. Vallin-Delamot, professor of the Academy's architectural class. Construction took a long time, from 1764 to 1788, and was led at first by the rector of the Academy, architect A. F. Kokorinov, and later by Yu. M. Felten and E. T. Sokolov. The geometrically correct plan, the clear and distinct structure of the symmetrical facades, the measured rhythm of the order elements, and the restraint of the decoration consistently embodied the principles of early St. Petersburg classicism, in this case, akin to French. All four external facades are divided into two tiers. The lower one, with arched windows and horizontal (“plank”) rustication, is likened to a continuous arcade supporting the overlying massif. The upper two floors are united by even spacing of pilasters or blades, and the windows are enclosed in high panels. The uniformity and monotony of the rhythm, the unity of the order with the wall, the fragmentation of surfaces, the flattened relief and the dry design of the details - all these are characteristic features of early classicism. The main facade facing the Neva is more representative and plastically expressive. It has a three-axis composition with four-column porticoes of the Doric order in the center and along the edges (construction along three axes will become almost canonical in Russian classicism). But the columns are not opposed to the field of the wall; they seem to grow out of it, continuing a continuous row of pilasters. Echoes of the Baroque are noticeable only in the concave-concave parts of the middle risalit and in the complex outline of the dome above it.
New Holland,
“New Holland” is the name of a small island bounded by the Moika River, the Kryukov and Admiralty Canals. In 1765 S.I. Chevakinsky drew up the plan, and J.-B. Vallin-Delamot designed the facades of warehouses for storing and drying ship timber, which replaced the previous wooden sheds and boathouses. The construction of brick buildings was completed in the 1780s by engineer I. K. Gerard. Purely utilitarian buildings impress with the severe expression of simple and large forms: a giant arcade, which is the end-to-end leitmotif of the facades, and unplastered walls treated with “plank” rustication. A majestic arch spans over the canal leading to the indoor pool. This is a wonderful creation by Wallen-Delamot, a pearl of early classicism. The unusual power of the image lies in the contrast: a gracefully soaring arch on fragile small columns is framed by a powerful Doric order - two pairs of large columns and a heavy, loose entablature. The composition is especially expressive due to the rare combination of red brick, granite and limestone. Similar but smaller pairs of columns are placed at the rounded corners of the warehouses. Vallin-Delamot had already resorted to this technique in solving the corner parts of the Bolshoi Gostiny Dvor. The construction of New Holland was not completely completed. One of the buildings was completed in the years (M. A. Pasypkin). In the western part of the island, a Marine Prison of an unusual ring-shaped shape was built in the years (A.E. Staubert). The curvilinear outlines of the windows and platbands, and the dynamic statues of the evangelists on the parapet, vividly remind us of the Baroque. The exquisite design includes the so-called “Rinaldi flower” - a kind of autograph of the architect. Pilasters and three-quarter columns organize the construction of the interior space. Italian motifs are perceptible in the interior composition - more Renaissance than Baroque. The lush interior decoration was lost in past decades.
Jean Baptiste Michel Vallin-Delamote.
Delamoth (Vallin-Delamothe), Jean-Baptiste-Michel (1729 - 1800) - French architect, the first professor of architecture at the St. Petersburg Academy of Arts. In 1759, I.I. was invited. Shuvalov for a period of 3 years, to occupy the position of architect at Moscow University and the Academy of Arts. Living in St. Petersburg, Delamoth served as an architect at the gentry cadet corps, taught his specialty to its students, was in the office of the construction of palaces and gardens of Catherine II and carried out orders from the Collegium of Foreign Affairs. From the opening of the St. Petersburg Academy of Arts he became one of its teachers; in 1765, at her solemn “inauguration”, he was appointed a member of her council. In 1776 he left for his homeland. He built the now non-existent “new colleges of foreign affairs apartments and archives” in Moscow, in St. Petersburg - the building of the old Hermitage, the Catholic Church of St. Catherine, New Holland, and in Honor of the Chernigov province - the Resurrection Church.
It occupies a special place in the history of Russian architecture. He is the founder of Russian classicism. Nevsky Prospekt, born in 1729. He came from a great family of Blondels - architects. Entered the French Academy in Rome. June 18, 1759 contract from Paris to St. Petersburg The first master of classicism, its staunch supporter and promoter, architect and teacher at the Academy of Arts. Jean Baptiste Vallin-Delamot, who came from France, enriched St. Petersburg with the largest commercial building - Gostiny Dvor on the corner of Nevsky Prospekt and Sadovaya Street. The majestic arch of warehouses on the island of New Holland was also erected by Delamoth. This masterpiece is depicted in many works of St. Petersburg artists, as one of the symbols of the city. The Small Hermitage at 32-34 Nevsky Prospekt, the Church of St. Catherine with a huge arch begun by Delamote and completed by Rinaldi. His appearance bears the signature of both great masters. Academy of Arts, with a majestic facade and rationally planned buildings surrounding a large courtyard. Its proudly elevated façade above the Neva clearly speaks of the building’s purpose as a temple of art.
ACADEMIC CHURCH.
Project of the palace of Count I.G. Chernyshev Embankment of the left bank of the Neva. Project for finishing the Great Hall in the half of Grand Duke Pavel Petrovich in the Winter Palace. Small Hermitage, Southern Pavilion, Northern Pavilion. Milestone at the Obukhovsky Bridge Triumphal Gate
Mariinsky Palace. St. Isaac's Square 6 .1762-1768, architect Jean Baptiste Vallin-Delamot; A monument of eclectic style. The main facade is accented by three risalits, the central one is completed with a high attic. The entrance is an arcade supporting a balcony. The lobby and suite of halls are of great artistic interest. The central rotunda, decorated with thirty-two columns, is covered with a dome and illuminated by overhead light. Nowadays the city Legislative Assembly works here.
SMALL HERMITAGE.
Palace embankment 36 1764-1775, architect Jean Baptiste Vallin-Delamot, Y.M. Felten, V.P. Stasov. The building is part of a complex of buildings that form a single whole with the Winter Palace. The three-story buildings of this monument of early classicism are oriented towards the Neva and Palace Square. The design of the facades is marked by rigor and sophistication. At the second floor level, the buildings are connected by a hanging garden and two parallel galleries. The building is skillfully connected to the facades of the Winter Palace. Among the interiors, the White Marble Hall is especially famous, the decoration of which combines motifs of Arab architecture and the Renaissance.
GOSTINY Dvor
Gostiny Dvor is one of the most remarkable buildings in the ensemble of Nevsky Prospekt, an outstanding monument of early classicism architecture. The Gostiny Dvor building was erected in 1761-1785 by the architect J.-B. Wallain-Delamotme. The building is built in the form of an irregular quadrangle with a courtyard, along which two-tiered arcades stretch along the perimeter, and classical porticos are located in the corners. The area of Gostiny Dvor is over 53 thousand square meters, with a perimeter of 1 km. Gostiny Dvor has four main lines: Nevskaya (formerly Sukonnaya), Perinnaya (formerly Bolshaya Suvorovskaya - from the word "severity" - coarse undyed fabric), Lomonosovskaya (formerly Malaya Suvorovskaya) and Sadovaya (formerly Zerkalnaya).
The appearance of Gostiny Dvor changed only once. In 1886-1887, according to the project of A.N. Benoit, the facade from Nevsky Prospekt was redone in the spirit of eclecticism using Renaissance and Baroque techniques. Only in 1944-1948 the building was returned to its original appearance.
Legends and stories associated with the building:
1. Once upon a time, on the site of Gostiny Dvor there were numerous wooden shops of St. Petersburg merchants - a source of constant fires. Therefore, it was decided to erect a stone building instead. For many years there was a dispute between the treasury and the merchants about at whose expense the construction would be carried out: the merchants did not want to fork out the cash. And when a decree was issued on construction at the expense of merchants and the architect V.V. Rastrelli developed a project for a luxurious trade building in the Baroque style, the merchants began to sabotage the execution of the decree in every possible way, and Rastrelli’s project was rejected as very expensive. At that time, another style was already replacing Baroque - early classicism. The Gostiny Dvor building was built in this style, designed by the architect J.-B. Wallen-Delamotte.
ACADEMY OF ARTS.
(Universitetskaya embankment, 17).
Ivan Ivanovich Shuvalov in 1757 “entered the Senate” with the idea of establishing an Academy of Arts in the Russian Empire, in response to which a government decree on its establishment followed. Shuvalov himself headed the Academy of Arts and himself participated in the selection of its first students, while trying to select young men noted for talent, no matter what class they belonged to. Shuvalov's selection method justified itself - the first students of the Academy were Anton Losenko, Fedot Shubin, Ivan Eremeev, Fyodor Rokotov, Vasily Bazhenov, Ivan Starov and others, whose names then became firmly entrenched in the history of Russian art.
After the palace coup of 1762, Catherine II ascended the Russian throne, who turned her “favorable attention to the St. Petersburg Academy of Arts. The entire Shuvalov period of the Academy’s activity was declared “particular,” that is, proceeding only under the private leadership of its curator. Shuvalov was dismissed, and In his place, “Lieutenant General and Cavalier” I.I. Betskoy was appointed, who energetically took up the implementation of the reform of the Academy of Arts, including the organization of the Educational School under it on November 15 (November 4, old style) 1764 Catherine II. “granted” the reformed Academy a charter and a “Privilege.” And in June 1765, on the day of the celebration of the founding of the Academy, the foundation stone of its main building took place. Under Shuvalov, the Academy of Arts was located in his house, located on Sadovaya Street, between Nevsky Prospekt and Nevsky Prospekt. Italianskaya Street. Then, several “philistine” residential buildings on the embankment of Vasilyevsky Island, between the 3rd and 4th lines, were adapted for the needs of the Academy. Over time, the Academy of Arts annexed almost the entire block, bounded by the embankment, 3rd and 4-4 lines and Bolshoy Prospekt of Vasilyevsky Island, into its possessions.
At the end of 1763, its professors, architects Jean-Baptiste Vallin-Delamot, invited from France in 1759, and Alexander Filippovich Kokorinov, began work on the project for the building of the Academy of Arts. For the first time in Russian architecture, the design of the building of the Academy of Arts outlined the principles of classicism - balance and symmetry of composition, majestic solemnity of appearance, the use of orders as the basis for the organization of facades. But the composition of the building of the Academy of Arts also contains many features that indicate the influence of the Baroque. The transition from the central protrusion to the porch, where the convex and concave surfaces of the walls interact in contrast, is distinguished by a tense plasticity. The shape of the dome crowning the central part of the main facade, facing the Neva and emphasized by three projections, the middle of which is decorated with a four-columned portico and sculptures of Hercules and Flora, is also quite complex. The construction of the Academy of Arts building was completed in 1788. The “Academy of the Three Most Noble Arts” was founded in 1757 - Shuvalov’s idea found a response from the “enlightening” court. In 1764, Catherine II approved the “Privilege” and the charter of the Academy, which was headed by I.I. Betskoy, who remained its president until the end of the 19th century. An educational school was created at the Academy, where boys 5-6 years old were admitted. They studied the fine sciences and played pranks - children are children, especially gifted ones. Until 1811 the president was A.S. Stroganov. It was the period of his “rule over the arts” that went down in history as the “golden age” of the Academy of Arts of the era of classicism. The building of the Academy of Arts itself deserves special attention. It was built for 23 years - from 1765 to 1788 according to the plan of Wallen-Delamot and A.F. Kokorinova. The monumental facade, the courtyard with a diameter of 55 meters and all these porticoes and risalits are classicism, and that’s all. But it seemed that additions and redevelopment would not stop. Dozens of artists and architects have changed the appearance of the Academy over the years. Not in vain: beauty begat beauty. Kustodiev and Levitsky, Aivazovsky and Benois, Repin - inspiration visited them within these walls. It is a pity that in 1917 the Imperial Academy of Arts was abolished. And the Higher Art School soon began to be called the Institute of Proletarian Fine Arts. Red was declared the main color on the easel.
NEW HOLLAND WAS TAKEN IN THE OLD WAY.
Before the beginning of summer, the administration of St. Petersburg will hold an international investment and architectural competition for the development of the territory of the New Holland Island.
Officials believe that the brick warehouses erected by Wallen-Delamot at the end of the 18th century could serve as the basis for a multifunctional museum and business complex. Local developers doubt the attractiveness of this project for themselves, but do not rule out that it will be of interest to Western investors. The area of the New Holland Island, located a block from the Mariinsky Theater, is 7.6 hectares. There are 26 buildings on the island with a total area of 68 thousand square meters. m. Most of the buildings are owned by the Russian Federation, of which five are monuments of federal significance. The main building is a brick warehouse complex for drying and storing ship timber, erected in 1765-1780. according to the project of J.-B. Wallen-Delamot. Until recently, warehouses of the Leningrad Naval Base (LenVMB) were located on this territory. The possibility of redeveloping the island has been discussed since the late 1970s. In 1990 The French company CBC became interested in the project of the architect Veniamin Fabritsky, who proposed demolishing the buildings in the northern part of the island, freeing up the site for business development. The Wallen-Delamot complex was supposed to be restored and placed in ancient buildings of cultural institutions: branches of the Mariinsky Theater and the Bolshoi Drama Theater, art studios, and in the center of the island - venues for music festivals and carnival performances. The cost of the work was estimated at $350-400 million. However, the main condition of the French was the withdrawal of the military by 1993. was not fulfilled. And they forgot about New Holland for a while. In 1997 Artistic director and chief conductor of the Mariinsky Theater Valery Gergiev appealed to Russian President Boris Yeltsin with a request to consider the possibility of reconstructing the Mariinsky Theater to include New Holland in the complex of theater buildings. The corresponding project was presented at the beginning of 2002. in St. Petersburg, the American architect Eric Moss, but he did not win the competition for reconstruction projects of the Mariinsky Theater. In 2003 Economic Development Minister German Gref nevertheless agreed with Defense Minister Sergei Ivanov on the withdrawal of military facilities from the island. And yesterday, Vice Governor Yuri Molchanov told reporters that on December 28, the Minister of Defense would present Valentina Matvienko with a symbolic key to New Holland. Until February 2005 officials will determine the mechanism by which the territory will be put up for architectural and investment competition. “We will give the island to one investor, so there will be few participants in the competition,” explained Mr. Molchanov. “The city does not want to spend money on engineering training, but we will reduce the cost of land,” the vice-governor promised. The volume of investments, according to Mr. Molchanov, will amount to “hundreds of millions of dollars.” The future competition of architectural projects will have international status. According to the head of KGIOP Vera Dementieva, the investor will be obliged to preserve the buildings included in the Wallen-Delamot complex without changing the internal layout. In addition to warehouses, there is a forge building and an internal reservoir. “The layout of the warehouses is inconvenient, but it makes it possible to create a social, business and cultural center with exhibition halls,” says Viktor Polishchuk, deputy chairman of the KGA. They prefer not to remember the idea of developing New Holland within the framework of the Mariinsky II in Smolny. “The state budget will not support such a construction project,” explained Yuri Molchanov. St. Petersburg developers found it difficult to calculate the estimated cost of the project. “The territory is unique, the payback may take decades,” believes Andrey Tetysh, chairman of the board of directors of the Bekar group of companies. “The surrounding area is depressed, there is no business activity and no solvent population. Perhaps the construction of the second stage of the Mariinsky Theater will change the situation, but a holistic concept for the development of the surrounding area is still needed,” he believes. And the head of the marketing department of the St. Petersburg Real Estate corporation, Nikolai Pashkov, believes that the international competition will attract the attention of foreign investors who, unlike local companies, have experience in the redevelopment of large territories. According to Yuri Molchanov, several companies have already shown interest in New Holland, including one from Moscow, and a Swedish investment fund. In addition, the Austrian Tilman Kraus previously announced its intention to “fit into” the project. Kommersant's sources in Smolny claim that New Holland was carefully studied by the LSR group. But this company yesterday chose not to comment on this issue.
The Hermitage in St. Petersburg (from the French ermitage - a place of solitude), one of the world's largest art, cultural and historical museums. Established in 1764 as a private collection of Catherine II, opened to the public in 1852. The richest collections of monuments of primitive, ancient Eastern, ancient Egyptian, ancient and medieval cultures, art of Western and Eastern Europe, archaeological and artistic monuments of Asia, monuments of Russian culture of the 8th-19th centuries. Hermitage buildings - Winter Palace (1754-62, architect V.V. Rastrelli), Small Hermitage (1764-67, architect J.B. Vallin-Delamot), Old Hermitage (1771-87, architect Yu.M. Felten), New Hermitage (1839-52, architect L. von Klenze), Hermitage Theater (1783-87, architect G. Quarenghi).
In 1765 - 1766 at the request of Empress Catherine II, next to the ceremonial residence - the Winter Palace, architect Yu.M. Felten erected a two-story building. The features of the outgoing baroque and the emerging classicism were organically and naturally combined in the appearance of this building, in the plasticity of its architectural volumes and the elegance of the decoration of the facade.
Later, in 1767 -1769, the architect J.-B. Wallen-Delamothe built a pavilion on the banks of the Neva for secluded relaxation with a state hall, several living rooms and a greenhouse. The building, designed in the style of early classicism, is distinguished by strict proportions, commensurate with the architectural divisions of the Winter Palace. The rhythm of the Corinthian order colonnade decorating its second tier expressively emphasizes the artistic unity of two buildings of different styles. The northern and southern buildings are connected by a hanging garden located on the second floor level, on the sides of which galleries were arranged. Created at the end of the 18th century. The architectural ensemble was named Small Hermitage, in accordance with the purpose of the Northern Pavilion, where Catherine II organized entertainment evenings with games and performances - small hermitages. Art collections housed in longitudinal galleries marked the beginning of the collections of the imperial museum.
Gostiny Dvor roamed for almost a hundred years. At first he “settled” on the Petrograd side - he burned down. Then - on the Admiralteysky and Vasilyevsky Islands. Everything was wrong - there was not enough space, there was too much theft. Gostiny Dvor has been located at its current location since 1735. It was built by the entire merchant class - the state treasury was not damaged at all. Rastrelli's original architectural design was considered too lavish and expensive. Another architect, Wallen-Delamot, simplified and made it cheaper. The oblique quadrangle had 170 benches in each tier and was divided into four lines. The names of the lines corresponded to the type of products presented. On the Cloth Line they traded wool, on Zerkalnaya - all sorts of light goods, the Surovskaya Line fascinated with silks. Personalized shops, persistent barkers, inevitable bargaining - there was plenty of everything. But time passed - and now sole ownership of a shop became a sin. In the mid-1950s, individual stores began to be consolidated into a central department store. And ten years later, Nevsky was decorated with the finally “united” Gostinka. The Gostiny Dvor metro station was opened in the tunnel.
WORKS OF ARCHITECT J.B.M. WALLEN-DELAMOTTE ORDERED BY CATHERINE II
V. K. Shuisky (St. Petersburg)
The drawings of Vallin-Delamot, located in Paris and Angoulême and partially published in France, as well as documentary archival materials located in St. Petersburg, allow us to make a number of new attributions and clarifications.
At the beginning of the reign of Catherine II, the Academy of Arts experienced its rebirth. From the hands of the empress she receives not only the charter and privileges, but also a new building, the design of which was developed by Wallen Delamoth. There is a misconception in Russian literature that the main author of this outstanding architectural work is A.F. Kokorinov. However, a preliminary design for the building of the Academy of Arts discovered in France, as well as detailed drawings by Vallin-Delamot and the absence of any graphic materials by Kokorinov, contradict this idea.
After the resignation of F.?B. Rastrelli Wallen-Delamot actually took his place as architect at the Winter Palace. He completed a large number of interior projects: in 1762 in the western building for Catherine II, the next year for her in the south-eastern part, in 1770 in the southern building for Grand Duke Pavel Petrovich and in 1773 in the western building for the great Princess Natalia Alekseevna.
The literature about the architect Yu. M. Felten categorically states that he designed interiors, developed drawings of fireplaces and wall decorations in the southern building of the Winter Palace. But the presence of a large number of such Delamot projects and the complete absence of Felten’s drawings refute this statement.
The study of French sources together with domestic archival materials also made it possible to exclude Felten’s authorship regarding the project of the embankment of the left bank of the Neva, in particular, Dvortsovaya. Its construction was envisioned by Rastrelli in connection with the construction of the Winter Palace. Vallin-Delamot managed to translate his idea into the project.
Catherine II rejected the design of the Palace Embankment proposed by the construction contractor Ignazio Rossi and approved the Wallen-Delamot option.
Another significant work by Delamot commissioned by Catherine II was the building of the Small Hermitage with a hanging garden and a gallery for housing art collections, added to the Winter Palace in 1764 - 1775. The absurd idea has been established in the literature that this building was simultaneously designed on both sides by different architects: on the Neva side by Delamot, and on Millionnaya Street by Felten. But the project belonged to Delamoth, and Felten carried out construction from start to finish. The same conclusion is confirmed by the design of the façade of the Free Economic Society building on the corner of Nevsky Prospekt and Admiralteyskaya Square, located in France, made by Delamaute in 1768 (the building has not survived). In terms of architectural and artistic techniques, the project was very close to the façade of the Small Hermitage from the Millionnaya side. In this part of the building, Wallen-Delamot designed apartments for the favorite of Catherine II, Count Grigory Orlov. The latter was the president of the Free Economic Society, for the construction of which the empress donated part of her own funds.
The work of Jean-Baptiste-Michel Vallin-Delamot (1729 - 1800) has not been fully studied to date, although he was the leading architect of the first decade of the reign of Catherine II.
St. Catherine's Church, Nevsky Prospekt between 32 and 34
An architectural monument, in a style transitional from Baroque to early classicism, erected in 1763-83 (architect J. B. Vallin-Delamot, from 1775 the construction was headed by A. Rinaldi, who changed the original project). Located in the depths of the site, a monumental building with a cruciform plan, accommodating up to 2.5 thousand people, was crowned with a powerful dome. Ch. The façade is decorated with an arched portal supported by free-standing columns. The building is crowned by a high parapet with figures of evangelists. The interior decoration was carried out by architect. D. Minchaki, art. D. Valeriani, J. Mettenleiter and sculptor. K. Albani. In 1801, part of the interior was designed by the architect. V. Brenna. In 1890-91 the temple, which had a multinational population. the parish (approx. 25 thousand people) was expanded. Until 1892 Catholics served in the church. monks, then diocesan clergy. Being Ch. Catholic temple of the capital, the church had many. shrines, rich gifts and utensils. The last king of the Polish-Lithuanian Commonwealth Stanislaw August Poniatowski (in 1938 his ashes were returned to Poland) and the Frenchman were buried in its crypts. gene. J. V. Moreau. In 1855, the funeral service for Arch. A. A. Montferrand. Since 1844, a charitable organization operated at the church. about St. Vikentiya
Paulinsky, which contained an almshouse, two gymnasiums in houses adjacent to the temple, as well as the beginning. school and refuge for boys. The library of the church consisted of 60 thousand volumes. In 1938 the temple was closed and converted into a warehouse, later transferred to Leningrad. Philharmonic; the interiors were damaged in fires in 1947 and 1984. In 1990, the building was returned to the Catholic Church. community, worship services resumed in 1992.
House of I.G. Chernysheva. Isaakievskaya p., 6
1762-1768, architect. J.-B. Wallen-Delamote; 1839-1844, architect. A. I. Stackenschneider; 1907-1908, meeting room of the State Council - architect. L. N. Benois, M. M. Peretyatkovich, L. L. Shreter.
A monument of eclectic style. During the construction of the palace, Stackenschneider used the foundation and walls of I. G. Chernyshev’s house that stood here. The main facade is accented by three risalits, the central one is completed with a high attic. The entrance is an arcade supporting a balcony. The lobby and suite of halls are of great artistic interest. The central rotunda, decorated with thirty-two columns, is covered with a dome and illuminated by overhead light.
Illustrations:
Academy of Arts, Universitetskaya embankment 17.
Gostiny Dvor, Nevsky Prospekt 35.
Small Hermitage, Palace Embankment 36.
House of I.G. Chernysheva (Mariinsky Palace), St. Isaac's Square 6.
Church of St. Catherine, Nevsky Prospekt between houses 32 and 34
Literature:
1. History of Russian architecture. St. Petersburg, Stroyizdat St. Petersburg, 1994
2. Antonov V.V., Kobak A.V. Shrines of St. Petersburg: Historical Church. encycl. St. Petersburg, 1996. T. 3.
3. Hankovska R. Church of St. Catherine in St. Petersburg. St. Petersburg, 2001.
4. F.N. Lure Petersburg History and Culture in tables, “Golden Age” 2000
5. N.A. Sindalovsky “Norint” 2001. Legends and myths of St. Petersburg.
6. Edited by O.E. Lebedeva, V.S. Yagya, Book about St. Petersburg. Special edition 1996.
7. V.A. Vityazeva, B.A.Kirikov. Leningrad travel guide. Lenizdat 1986.
8. P.I. Pylyaev. Old Petersburg JV “IKPA” 1990.
